Roadstar's Music Biz

Italy Consulate , Canada

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M5T 1Y5
Toronto
Ontario
Canada
Phone:
+1-416-9771566
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Email:
consolato.it@toronto.italconsulate.org
Website URL:
www.toronto.italconsulate.org

Forms E101 and exemption from welfare contributions | Foreigns Artists in France

2010-06-22T06:06:00.000-07:00

Forms E101 and exemption from welfare contributions | Foreigns Artists in France

Articles and Items related to the Music Industry

2010-05-12T15:34:00.000-07:00

Welcome to my music industry blog.
Find articles, anecdotes and links to documents and other important reference websites PLUS my own shameless promotion. Please refer to the menu.

DO MY ONLINE SURVEY NOW>> http://musicians.questionpro.com
Subject: Making a Living as a Musician. It takes 20 minutes.

Samples of my Photography (2 min slideshow): [click here]

How and where to buy my music: www.margaretstowe.com/music.php

Deepak Chopra: Which Is Real, the Moon or God?

2010-03-23T11:16:00.000-07:00

Huffington Post

Deepak Chopra: Which Is Real, the Moon or God?

Take your royalty checks, SoundExchange begs - Los Angeles Times - Page 2

2010-03-23T10:46:00.000-07:00

Take your royalty checks, SoundExchange begs - Los Angeles Times - Page 2

Take your royalty checks, SoundExchange begs

Money is piling up from digital music streams, and the nonprofit has to track down artists who don't know. Then it has to convince them it's not a scam.

COMPANY TOWN

March 12, 2010|By Alex Pham

(Page 2 of 2)

"I'm a niche within a niche," he said. "People like me fall below the radar."

The "dirty data" phenomenon hampers the collection of royalties by other groups as well.

"This affects everyone," said Patrick Sullivan, chief of RightsFlow, which helps track a separate set of royalties. "Without proper data, we can't get the money out to the license holders. We have to do it better, because ultimately if we don't get paid, no one gets paid."

How Musicians Are Using Social Media to Connect with Fans

2010-03-15T21:24:00.000-07:00

Mashable column

How Musicians Are Using Social Media to Connect with Fans

Frequently Asked Questions | Bandcamp

2010-03-03T13:21:00.000-08:00

Frequently Asked Questions | Bandcamp: "...whether it%u2019s a pop tune, a heavily political punk album, or an experimental, avant-garde suite %u2014 the key is very simple: people have to hear music, then they will grow to like it, and then finally, if you%u2019re lucky, they will engage in an economic relationship in order to consume (not just buy and listen to) that music.

That%u2019s the order it has to happen in. It can%u2019t happen in any other order. There%u2019s no point in hoping that people will buy the music, then hear it, then like it. They just won%u2019t.

Nobody really wants to buy a piece of music they don%u2019t know %u2014 let alone one they haven%u2019t heard. Especially if it%u2019s by someone who lies outside their usual frame of reference.

And a 30-second sample is a waste of your time and bandwidth. It%u2019s worse than useless. That%u2019s not enough to get to like your music. Let them hear it, keep it, live with it. And then bring them back as a fan.'"

Eurosonic Noorderslag Conference Sweden

2009-11-10T00:13:00.000-08:00

Conference

NEW CD! MELLO JELLO available now.

2009-09-05T21:28:00.000-07:00

EPKs
www.margaretstowe.com
www.myspace.com/margaretstowe
www.reverbnation.com/margaretstowe

BUY/LISTEN: http://music.margaretstowe.com
CDbaby: www.cdbaby.com/margaretstowe
iTunes: www.itunes.com/margaretstowe

NEW! Mello Jello CD
Margaret Stowe

Download Share

Giving it Away - Nina Paley Releases Some Data On 'Sita Sings The Blues': The More She Shared, The More She Made | Techdirt

2009-08-26T14:31:00.000-07:00

Nina Paley Releases Some Data On 'Sita Sings The Blues': The More She Shared, The More She Made Techdirt

What the...??

2009-07-19T13:11:00.000-07:00

Why am I able to download my own mp3 for free right here:

http://beemp3.com/index.php?q=margaret+stowe&st=artist

Here's where it's downloading it from:
http://chrwradio.com/lma/2003/Margaret%20Stowe%20-%20Things%20I%20Do/Margaret%20Stowe%20-%20Moody%20Blue.mp3

People can share this free link with their friends by sending them this url:
http://beemp3.com/download.php?file=3111116&song=Margaret+Stowe+-+Business+Trip

or they can embed a player in their webpage.

Harvard Reference Generator :: Referencing a Chapter of a Book for an Essay, Dissertation or Thesis :: Neil's Toolbox

2009-07-09T09:06:00.001-07:00

Harvard Reference Generator :: Referencing a Chapter of a Book for an Essay, Dissertation or Thesis :: Neil's Toolbox

Shared via AddThis

MAY 2009 - New UK Immigration Requirements for Visiting Musicians

2009-05-25T21:38:00.000-07:00

This in from Jacey Bedford nr. Huddersfield, UK:
===================================
Dear Mapleposters,
My thanks to Hugh McMillan for passing this on. There seems to be some concern about the new requirements for sponsorship certificates for Canadian (and American) musicians coming to work in the UK. Anyone who regularly works in the UK knows that there has always been a requirement for visiting musicians to obtain a work permit. This new sponsorship certificate replaces that requirement.
Anyone who has previously been coming into the UK to work without a work permit has _always_ risked deportation. This is nothing new.
If you think of the new 'sponsorship certificate' as the equivalent of the old work permit, then that's pretty much all there is to it.
However... In order to apply for sponsorship certificates a person has to be a licensed sponsor - which I am. (Hence it's unlikely that venues will be able to make the application on your behalf as only the biggest venues will go through the process of becoming licensed.) To become a licensed sponsor we have to jump through a few hoops, agree to specific legal requirements, and pay out £400 for a licence, but once we are licensed the applications for certificates are relatively simple - just some online form-filling and a payment.
A sponsorship certificate is not actually a piece of paper, it's a number which you present at immigration upon landing. The immigration officer then checks the number against the computerised system and okays your entry to the UK. It generally takes about 15 minutes and there's no hassle.
I am happy to apply for sponsorship certificates for legitimate Canadian and American musicians who wish to contact me, but though I have pulled rabbits out of hats and got certificates through in less than a week, I'd really prefer a six week lead time if possible. I make a charge of course, but it's actually less than the old work permit costs.
Cheers
Jacey Bedford
agency@jacey-bedford.com
www.jacey-bedford.com
PS, for those of you who remember me as 1/3 of Artisan, we're doing a 5-year reunion visit to Lunenburg Folkharbour Festival in 2010, so we might see some of you on that trip.
Www.artisan-harmony.com

MusiciansWages.com - blog for working musicians

2009-05-23T13:59:00.000-07:00

http://feeds2.feedburner.com/MusicianWages

Gig recently posted on Craigslist

2009-05-18T21:59:00.001-07:00

Example of the new business model at work

New Toronto Jazz Club Booking Musicians
Reply to: comm-4e4hc-1171729685@craigslist.org
Date: 2009-05-15

Memphis Smoke Jazz and Piano Bar needs to fill out a few spots. Pay range starts from $40-$100 per night depending on experience, improvisational skills, and original material. Applicant should be able to read lead sheets, play with an ensemble, and have a minimum 1 hour of soloing ability. The styles are based on jazz, blues, and pop. We are seeking all instrumentalists, especially; bass, double bass, guitar, vocals (some scat), horns, and electronic Please do not ask us to visit web sites, send attachments, or lengthy bios. The audition process will be to play 1-3 pieces with the house pianist, and a solo. You can choose the Rising Artist Open Stage (Every Wednesday), or The Singer/Songwriter Showcase (Every Thursday) - Original music only please for Thursday. Please do not call the club directly. To audition, you must email your phone number and the date you would like to come in. Only when we call you back will you be confirmed. YOU CANNOT SHOW UP WITHOUT A SPOT. We need musicians immediately, so the first proficient ones that come in will be hired on the spot. This is an idea of the layout and style of the club: http://www.youtube.com/watch?v=SAyVOVPOXDQ

Cabaret@Statler's Artist Contract

2009-05-18T21:50:00.000-07:00

Statler's artist contract: The following explains how a CABARET @ STATLERS operates successfully forboth artist and venue (the establishment).
You promote to your family, friends, fan club, loyal followers.throughyour Website, MySpace, Facebook, etc.

The following information must be included in all promotional material: Thedate, name of artist, name or theme of cabaret (if there is one), name ofestablishment (Statlers Cabaret) address of venue, time the doors open fordinner/cocktails, 6:30 PM, show time, 8 PM, etc.

In your promotional material, you advise all guests that attendance is by'reservation only'. In order to make CABARET DINNER RESERVATIONS, go toStatlers website and link to the �DINNER CABARET RESERVATIONS� button tomake their reservation for your cabaret show. Guests MUST makereservations, no walk-ins accepted.

There must be at least 20 guests within five days (5) prior to show time orshow is automatically cancelled. You can charge either $12.00 or $15.00 per person cover - (artist receives80% of cover, house receives 20% for administrative expense of handling thereservations and door).

There are no complimentary reservations accepted. If an artist wishes to provide a complimentary entrance to someone, they must pay the door cover and then from their revenue, rebate themselves orthe party they complimented. There are no complimentary seats allotted for artist's family members, camera people, lighting people etc. They too must make reservations and pay the entrance fee, etc. (the number count ofguests must be accurate and reconcile to the door fees received space is limited and both the artist and house are required to extract as great arevenue as possible so the entire event is worthwhile). There is a Food & Drink Minimum of $10.00 per person. This must be advertised on all your promotional material without fail.

You are to either create a poster or we can create one for you for a fee of $25.00 if you provide a picture or graphic detail, etc. All the information above will be contained in the poster and this too should be copied to allyour advertising material and mediums of promoting your cabaret. The house will print three posters, two for the house front window and a hard copy forthe artist. The artist will also have been provided with an electronic version of their poster so they can print additional copies at their choosing.

NOTE: We are averaging guest lists via the VIP Reservation Only system of about 40 people per show. If the show has less than 45 guests, it is held upstairs and if more than 45, it is moved downstairs. We have a Baby Grand,Yamaha G20 downstairs, and a Steinway Antique upstairs, full sound system and stage management administration to assist and support in making the cabaret event, one of the most memorable in an artists career. Please let me know your thoughts and compliance on the above guidelines for Cabaret at Statlers? We are currently booking the next three months at this time. Many seasoned artists have reserved their gig dates.

Sonicbids Artist Experiences/Opinions – Links to, at volumeeleven.net

2009-02-17T23:27:00.001-08:00

www.volumeeleven.net/product_reviews/sonicbids/

Mar 3, 2008 at 4:19 pm

I know many people are curious whether their monthly fees are worth it. Of all the companies we list, any comments from our users regarding this service would be great!

There is a nice discussion thread on Harmony Central about whether Sonicbids is worth the investment in time and money.

http://acapella.harmony-central.com/showthread.php?t=1864737

The basic gist is that most people think much of it feels like a scam, or as one person says: “They really seem like just another shark in the waters to me. Just like those “record labels” and “Publishers” who are really excited to “sign you” and only need $400 to produce the demo.”

Some more discussion:

http://www.projectopus.com/node/9661 (here someone from Sonicbids responds to concerns)

http://www.ultimate-guitar.com/forum…d.php?t=690269 (here one a musician talks about her negative experience; she paid $45 to submit to CMJ and no one even listened to her songs)

Sonicbids - eWorld Music Inc names alleged scam artist Jim DeCicco as president

2009-02-17T23:18:00.001-08:00

http://la.indymedia.org/news/2008/05/217155.php

“Now in 2008, this alleged scam artist is heading up a eWorld's new award show in hollywood. Despite the misuse of submission fees from artists, last year, DeCicco has again been joined by Sonicbids, who may unknowlingly be assisting him in yet another scam.
The bottom line is this warning to bands and musicians.”

MusicfestNW hooks up with Sonicbids, charges bands to apply to play

2009-02-17T23:01:00.001-08:00

FULL ARTICLE: www.pampelmoose.com/mspeaks/2008/05/musicfestnw-hooks-up-with-sonicbids-charges-bands-to-apply-to-play

“Here’s a list of just a few of the companies promising untold riches or something to bands and musicians (add .com to the end of each name here..) SongNumbers, Myxer, ArtistXite, BandFarm, mTraks, SonicBids (the one I dislike the most), Muzu, Gydget, ArtistForce (SonicBids part 2), aaahhh the list goes on and on.”

Wired Magazine - Is Sonicbids' Pay-for-Play Music Promotion the New Payola?

2009-02-17T22:53:00.001-08:00

http://blog.wired.com/music/2008/04/is-sonicbids-pa.html

There are Links to Sonicbids forums on this page

Sonicbids Artist Experiences/Opinions. The Fender Forum - Sonicbids

2009-02-17T22:39:00.001-08:00

Scroll to the bottom of this article to see the Artist Opinions
http://www.fenderforum.com/forum.html?db=&topic_number=669131

“It's one more industry tool to feed off the original musicians. Basically, they want you to pay to play, and now to pay to be considered to pay to play. The industry is growing, even as pockets are shrinking...so now they've just decided to completely bankrupt every musician who isn't a star, or a human jukebox recycling other peoples music. Cover bands are of no danger to the industry, original bands feed them money, wether they're stars or not now. It's madness.
I hope the revolution comes soon...my wallet can't take much more.”

Sonicbids Artist Experiences/Opinions -The Boston Noise Forum

2009-02-17T22:35:00.001-08:00

http://www.thenoiseboard.com/index.php?showtopic=183747

Sonicbids - CMJ Caught in Money Grab?

2009-02-17T22:31:00.001-08:00

http://ghostmedia.typepad.com/ghost_media/2007/09/cmj-caught-in-m.html

Read the Comments at the bottom

CMJ used to be cool...as soon as you had to apply through Sonic Bids it became a total farce.

And, dear lord, if I get another freaking email from Sonic Bids asking me to apply to be on some shitty sampler I will just...

Don't waste your money, kids. That's all they want from you, MONEY! Most of the "contests" Sonic Bids put on are rigged. Sad, but true.

SonicBids : Legitimate business scams rule online music services

2009-02-17T22:26:00.001-08:00

2008

FULL ARTICLE: http://storyproblems.blogspot.com/2008/12/sonicbids-good-luck-or-bad-suck.html

Is Sonicbids worth it? I guess that depends on who you are and what kind of luck you have about you. It also depends on how sensitive your does-any-online-music-service-actually-work meter is. It also depends on if you had to sign up for account just so you could apply to a music festival which only accepted applicants through the SonicBids engine. A festival like Bumbershoot can accept thousands of entries at $10 a pop and just clicks the no button on you—and doesn't even have to quickly explain why. I think if you are going to charge $10 per submission you should have to respond with something. Sonicbids should require this. In this scenario, I was left wondering if my music even got reviewed. Seriously. I'm not barking scam...but I guess I am, but ironically not by SonicBids. If they (Bumbershoot) took in thousands and thousands of submissions through this highly visible efficient application tool, did they go through the trouble of really evaluating the material and……..

Sonicbids takes $4.5 million in funding from the Edison Venture Fund.

2009-02-17T22:20:00.001-08:00

2007

FULL ARTICLE: http://mashable.com/2007/08/13/sonicbids-funded/

Comments
Jackie Says: May 19th, 2008 at 7:44 pm

Sonicbids has deteriorated tremendously in the last year. While their pay-to-play “drop box opportunities” have always been a long shot gamble, they now mostly consist of shady promoters who collect money from hopeful artists. Many of these “opportunities” have turned out to be major scam situations–or worse yet, there is NO ACTUAL GIG!!!

The promoters go AWOL, never to be heard from again. Sonicbids does nothing to help–and they should, because they receive HALF of the fees!

Many of these terrible situations have been written about in the Sonicbids Forum. So! Just recently, they blocked the Forum from public view. You have to pay a membership fee just to read them.

In place of their community Forum, they have created a “Lounge” blog, full of cheerful “tips” from their CEO. NO negative comments are permitted!

julian Says:
May 20th, 2008 at 9:43 am

I too have watched SOnicbids’s services deteriorate over the past few years. THeir fees increase regularly and their customer service is like beating your head against a wall. They claim NO responsibility for their promoters at all. So… BUYER BEWARE.

Sonicbids claims it is the artists’ responsibility to police Sonicbids promoters *before* they pay to submit to them. Sonicbids does NOT claim that they have policied the promoters already, and vouch for their promotion as genuine. In fact, once artists figure out that a promotion is a SCAM, SOnicbids tells them to request a refund from the promoter directly, as SOnicbids ONLY refunds with the promoters permission. GOOD LUCK GETTING A REFUND! All this double talk even though SOnicbids keeps 50% of EVERY SUBMISSION FEE ARTISTS MAKE. DOes this seem fair to anyone? anyone?

From CDBaby - Sonic bids in hot water, be wary of them

2009-02-17T22:05:00.001-08:00

May 2008

FULL ARTICLE: http://cdbaby.org/stories/08/05/30/7898376.html

Be wary about using sonicbids right now !
There is an ongoing investigation, to be taken to the FTC, regarding one of their "drop-box" scams. (One among many scams and major complaints that members have been blogging about and reporting to the BBB, FTC, and so forth).
They have dozens of "dead" drop boxes, so that customers submit to promoters who have pulled their opportunity down from the website, YET sonicbids leaves these attractive offers open and available for c.c. payments.
Sonicbids and CEO Panos Panay continue this scam unabated, as well as allowing many unproven "promoters" to operate scams DIRECTLY on their website. Sonicbids only requirement for a promoter to operate on their site regardless of their credentials, is $$$$.
Even their ballyhooed NACA deal is very risky - one needs to put up close to $1,000 dollars in total fees just to have a chance at one of those gigs. And worse, there recent NXNE promotion bilked artists who unwittingly submitted to this event well beyond its closing date - without being notified as such, and since then dozens of artists have filed for refunds so far not forthcoming.
Sonicbids is so ashamed and afraid of all these potentially very damaging complaints getting out of the bag they no longer allow the pubic to view their forums, and also now have swept these posts that have "outed" them (as well as any and all critical posts from customers dealing with numerous un-responsive "promoters") well beneath a newly minted "Lounge" that only allows “raw-raw” blogging.

CMJ Marathon and Sonicbids scam

2009-02-17T21:50:00.001-08:00

CMJ Music Marathon exposed for not opening Sonicbids submissions, just taking the money. Read the eloquent comments at the bottom.

www.superstarcastic.com/music-news-2/music-industry-gossip/sonicbids-cmj-2007-anatomy-of-a-scam/

Creative Economy touted for Ontario

2009-02-05T12:42:00.002-08:00

http://www.thestar.com/article/582710

"

2009-02-05T12:42:00.001-08:00

http://www.thestar.com/article/582710

Folk Alliance Memphis Feb

2008-12-27T00:14:00.001-08:00

Memphis

http://www.folkalliance.org/

Deadline for submissions Nov 18

The 2009 International Folk Alliance Conference will be held February 18-22, 2009 at the Marriott Hotel in Memphis, Tennessee.

Work permit info - Netherlands

2008-12-24T21:29:00.000-08:00

re: Canadian musicians working in the Netherlands

Because they are citizens from Canada, they do not need a visa to stay in the Netherlands shorter then 3 months. Normally artists need a work permit to work in the Netherlands. Artists who would like to give incidental concert(s) within 4 weeks, do not need a work permit.
So if they would like to come to the Netherlands to give 1 concert they do not need a visa or work permit. If they will do more gigs, they need a work permit. For more information I refer you to the CWI (Centre for Work and Income). This organisation grants the work permits. Here it is: http://www.workpermit.nl/

Immigratie- en Naturalisatiedienst/ Immigration and Naturalisation Service Publieksvoorlichting/Department of Communication

2008-12-24T21:25:00.000-08:00

So You Wanna Tour Europe - A European Touring Overview

2008-12-15T16:20:00.000-08:00

SO YOU WANNA TOUR EUROPE?
(published and printed in Toronto Blues Society Newsletter January 2009)

I’ve had some great European touring adventures. I just returned from my 7th European tour, Madrid, Paris, Berlin, working mostly in jazz clubs. I’ve done tours with Big Rude Jake where we got onto a tour bus and enjoyed the ride through Europe. We played at the Louvre and opened for Ray Charles in France. Boy, I’ve got stories! I’ve also toured in Europe completely on my own stream, putting together bands and finding gigs. In Europe every gig is a concert. People are listening. You have to live up to what they expect from a visiting North American artist. What about blues? Along with having an appreciation for artists in general, Europeans audiences certainly do like North America music, jazz and blues, and swing. Chris Whiteley and Diana Braithwaite, just returning from a tour of Russia, the UK, the Channel Islands and Germany concur, “The blues seem to be going strong internationally, in all countries, and in all languages.” Shakura S’Aida, currently touring all over Europe with the Chicago Blues Festival 2008, says Europeans are “amazing audiences who have a true love and knowledge of blues and appreciation for artists”…”…there is no faking or half way with European audiences.”

The travelling process can be stressful and challenging. So here are some Euro-centric (and a bit guitar-centric) tips for the touring musician of 2008 and beyond. You can find the full blown version of this article with detailed info in all areas at my blog at www.roadstarmusicbiz.blogspot.com.

HOW DO YOU GET GIGS? One way is to work with agents. You can connect with European presenters at events like the upcoming TBS Blues Summit. If agents pass you by, you can plan your own tours. Start working on it a year in advance. Working with European musicians is a good way of developing a network and scene. This is what I do. Myspace is a great tool for doing this. Brian Blain, blues artist and frequenter of European stages, has similar advice. “… your best bet is to hook up with a musician who already lives there or tours there regularly.” Where to play? Look for venues that suit your style and make contact. Tip: Make sure your online presskit/webpage is complete. You only get one shot at having them look at you.

THE AIRLINES AND TRAVELLING WITH GEAR. Travel light. Checked luggage should weight under 20kg (including instruments). Your carry on, less than 12kg. For carry on instruments, policies vary and are unpredicable. Check the baggage restrictions online before buying your flights. Beware of cheap flights with 15kg limits. If you carry on a fullsized guitar, or travel with 2 guitars have one instrument in a hardshell case, just in case. A polyfoam hardshell gigbag is a excellent lightweight option. Don’t tour with your favorite instrument but do have insurance. Tip: Complete global coverage ($50 deductible!) is available to AFM members. I currently tour with a compact travel electric guitar. On his recent tour, Chris Whiteley travelled with a Blue Ridge acoustic guitar as checked luggage, with trumpet and harps as carry on. Chris says “I also purchased an electric over there, which was cheaper than paying to bring an extra guitar on the flight. I left it with a musician friend in England , for our next tour.” Brian Blain says, “I bought a cheap Johnson resonator guitar which served me well and again on two more successive tours.”

How much peripheral gear? Should you take a laptop, pedals, cables, recording gear, practise gear, entertainment devices? Limit yourself to 10lbs. My recent touring arsenal: a Line 6 Pocket Pod, a couple of other pedals, various cables, a 13” laptop, a small recording interface, a Zoom recording device and a video camera. It is common to see amplifiers and even drum sets in the clubs in Europe. Try to arrange for backline. If not, rent or borrow.
How do I take my sound on the road? Chances are you won’t be able to, unless you’re touring in the roadies/tourbus scenario. Find a compromise that works for you.

AIRPORT CHECK IN. The extra load that musicians carry and the inconsistent policies for instruments make the process unpredictable at best. You may have to repack to make them happy. Or maybe not! Tip: show up more than 2 hours before your flight.

GETTING AROUND EUROPE. Chris and Diana, “If it moved we were on it. Planes, trains , ferries , vans, trams , cars and feet!" Lots of options. I fly between cities and use trains and the metro. Shakura is travelling mostly by train and van. Trains connect cities very well in Europe and metro systems will get you anywhere you want to go within cities. Taxis are expensive. Eurorail is expensive but so is flying. Trains take longer but they take you to the centre of town, so you don’t have to get in and out of airports. And you will see more of Europe. I did a whole tour on the eurorail. Despite the increased schlepping (lots of staircases in Europe!), it was an excellent.way to go. That trip down the Rhine was amazing.
Tip: Find out your options for getting in and out of the airports. You’ll be thankful you did. Language doesn’t seem to be a barrier anywhere in western Europe and most signs are also in English.. Have contact info handy including directions to venues and accommodations. Use google maps.

ACCOMMODATION. Accommodation in Europe is expensive but there are affordable options. On craigslist you can find affordable guest rooms and apartments of all sizes easily. They all offer wifi now and some even offer free calls to Canada and the US (a new thing in France). Hostels with private rooms are cheaper than hotels and are just as good. Whenever possible, have access to a kitchen. If you always eat in restaurants, your euros will fly away.

TAKING CDS. If you are in a position to mail boxes of 50 beforehand and have the means to carry them and sell them all, then great. However, if you are carrying your own CDs go with lightweight compact packaging. I discovered a great cheap way to repackage jewel case cds for touring and I’d be glad to share the idea.

DOING BUSINESS. Start planning a year in advance. Make contractual agreements and get confirmations by email. This is binding. A few general things about work permits. Presenters and clubowners deal with foreign artists all the time. So when you are looking for gigs, talk to your employers about how they are used to dealing with foreign artists. Many Europeans countries allow you to work as an artist for a period of time without a work permit. In Germany it’s 6 months, but your employer (the presenter or clubowner) must still remit tax for you (26%). You can do gigs in the Netherlands for 4 weeks without a work permit. [read more here]. You will have to get a work permit every time you work in the UK, however. There are also fees which may come out of your pocket. In Spain, live music venues are encouraged to hire foreign artists. No matter what kind of gigs you’re going, make sure you check with your presenters/clubowners about how they are used to handling foreign artists and give yourself lots of time to work out the details.

MISCELLANEOUS TIPS:
- Take some kind of entertainment device (I load my iPod up with old movies)
- Pack your instrument tools in your luggage, not in your case.
- Try to get a new credit card with a “chip”. European credit cards have chips now and sometimes cards without chips are rejected. Use cash to avoid currency conversion fees. Many shops and restaurants in Europe don’t take credit cards. Keep a record of your spending.
- Cell phone? The cost of a prepaid SIM for your GSM phone varies by country. They often don’t work outside the country. On my last tour I used my Canadian cell phone, roaming and ready to use anytime, for texting and the occassional call. It was cheaper than buying multiple European SIM cards.
- Publicize your gigs and try to get some press.
- Take a camcorder. Get some video!
- Exercise. Touring can actually be an excellent chance to shape up and get fit. You’re going to do a lot of walking, so if you eat well, your body and mind will be in peak condition for the many challenges, and stresses that go hand in hand with the joys of touring in Europe.

Touring Europe (and beyond) is above all else a life enriching experience. Chris and Diana, “Work hard, but don't forget to enjoy the tourist aspect of other countries. It is a great opportunity.” Shakura, writing from Monaco, says “the only negative thing (about touring Europe) is that I don’t spend enough time here!?!?!”.

Ditto to that.

Margaret Stowe

ANECDOTE - Beware of musicians

2008-06-18T12:50:00.000-07:00

SECTION FROM:
THE INDEPENDENT

Article: Facebook faux pas: The geek's guide to netiquette
Social networking is a minefield for manners – should you poke your boss? Can you have too many friends? Rhodri Marsden shares his golden rules

Beware of musicians
"No group of people are as eager to seize the chance to relentlessly pester people as musicians. Anyone possessing a guitar will have three times the number of friends as anyone else, none of whom will have expected the torrent of useless information that's now hurtling in their direction. There'll be news of a new song being written, details of a forthcoming gig in Rhyl, links to a new single on iTunes, and flyers the size of the Bayeux Tapestry. Refuse the friendship of anyone with musical ambitions."

http://www.independent.co.uk/life-style/gadgets-and-tech/features/facebook-faux-pas-the-geeks-guide-to-netiquette-849090.html

ANECDOTE - professional musicians left out because you have to pay them

2008-05-25T20:13:00.001-07:00

I was recently asked if I was interested in playing at a local street festival. It's going to be a great event and I was thrilled to have a shot at a spot for my (underexposed) band. When asked for a price I quoted "scale", the lowest amount set by our professional association for this type of gig, a concert set on a festival street stage. Scale amounts to $135 per musician. This is more than fair for the employer.
In response to my quote, I received an email back informing me that this was way outside of their budget and that now they had decided to get only "community bands" and "non-professional musicians" to play at the event. In other words, people they don't have to pay or who will work for almost nothing, musicians with day jobs etc.

Again, the professional musician is eliminated from the pool of work.
Where is the professional musician supposed to work?
How are we to make our living?

ANECDOTE - 4 buns for the band

2008-05-13T00:09:00.000-07:00

About 4 years ago, I got a gig for my band (5 of us) at a high end restaurant in Waterloo. It was actually in the lounge upstairs beside the dining room. The agent had negotiated a meal for out of town bands because the gig started at 7pm and bands coming from Toronto would have to leave town in the early afternoon to get to the gig, given the heavy rush hour traffic.

However, when it came time to eat, the owner's wife, there in lieu of the owner that day, flatly refused to feed us. No reason, just "no". This was quite disturbing as we hadn't eaten since lunch and were facing the whole night of playing, till 11pm with no food. I practically begged for a bowl of soup, or something, but was flatly turned down. Unbelievable.

Then, to the rescue, the bar waiter said he would help us out and get us some food. He said he'd go to the kitchen and come back with some food for us. Yay!! Saved.

A few minutes later he came out, with a small basket containing 4 small dinner rolls. 4 buns!! for a 5-piece band. He put the basket down in front of us and acted as if he'd done us a favour.
We were stunned.

So the band had 4 buns for dinner. Sax player Carrie Chesnutt (who was on the gig) and I often make fun of this situation, but really we're just remembering how pathetic it was.

This is how working professional musicians are treated today.

Live 365 Internet Radio

2008-05-12T17:13:00.000-07:00

Internet Radio - a can of worms

NEW USES of our music include internet radio. Live 365 is an example.

Who makes money?

- Live 365

- Major record labels, and hence major artists

Who pays?

- The public

- The musicians

LICENSING, RADIO and SELLING ONLINE

2008-04-29T22:29:00.000-07:00

IMPORTANT READING FOR FREELANCE AND INDEPENDENT MUSICIANS

I have created a page of questions, answers, and resource information about
Licensing, Radio, Selling Online and several other topics.

http://www.margaretstowe.com/ref.php

Please check it out. * It is a work in progress * and I plan to EXPAND all of the areas, and hopefully answers the troubling unanswered questions, but there is a lot of great reading here, and I invite you to read:

If you have anything to contribute to this page, please let me know.

Marg

Is this a JAZZ FESTIVAL?

2008-04-20T22:49:00.000-07:00

Ok, I have to express an extreme sadness at once again when I puruse jazz festival website programs only to find the listings populated with blues bands, pop bands, country bands, alt country bands, folk world bands,.....did I mention blues bands! Aren't there enough blues festivals for the blues musicians to play?

I love all incarnations of jazz...nu, nu-nu, new-old, old, electo-nu, nu-other, trad-other, free improv, etc etc but tell me please, why does a country artist have a gig at a jazz festival? Why does a blues band have a gig at a jazz festival? What does that have to do with jazz? What? Blues festivals hire *only* blues bands. I was at a world music site the other day..it said clearly on the contact page "we only book world music acts". What's wrong with jazz festivals?

You will never find a jazz band at a blues festival or a folk festival or a world music festival or a rock festival or any other genre of festival but you find all of these genres proudly represented at all the jazz festivals. I'm not slagging any genre of music, I love it all, but this "syndrome" is like a bad disease. Especially when there are so many under-employed jazz musicians walking the streets. Come on!

What's going on?
Aren't there any jazz musicians who need the work? The truth is, the jazz musicians *are* out there but they're not getting the gigs. Are we not deserving? Don't we pump the culture full of our brands of jazz every time we go to work? Aren't we doing enough? Aren't we working for free enough? Aren't we playing enough blues?

If you say that these "other genre" artists are paying the bills, I would like to know how these artists they are paying the bills, how exactly? I ask you, how does a blues band or a country band playing on a free jazz festival stage or in a club help bring in dollars to the festival? How exactly? Hard evidence please. I think this is a misguided ruse and a culture killer. Does the corporate sponsor say "we have to have bluegrass and country bands and blues bands"? My guess is NO.

Mitch Podolak, long time festival AD in Winnipeg and beyond, commissioned a study to find out who exactly attends a festival. It turns out that 97% of the people are "eventers" and not there because of the genre of music. They are there for the event itself. The folk festivals stuck with there guns and made the public fans of the genre, as community development (the CF factor as he calls it), by giving them folk music in all its permutations and now the folkie's names *are* the household names because they actually see their names in print again and again. Result- the folk community is greatly enriched, and the community at large is greatly enriched. The point here is that festival should make the people come out regardless of "who's on the bill" or how many "names" they know. So jazz festival ADs have no excuse for not hiring only jazz musicians. By not doing so they are giving the message to the public that jazz isn't good enough.

So we get the headliners (John Scofield, Roy Hargrove et al), the "darling bands" (you know them), the out-of-genre artists (you know them too), and a few token others.
Every spot at a jazz festival should be filled with a jazz musician or jazz band.

Someone came up to me at an (unnamed) local jazz festival gig (within the last 2 years) and said to me "you're the only jazz band I've seen here today". Honestly, that happened.

I think to say "that's just the way it is" is a sad commentary. Everybody is just "doing their job", everybody's "hand's are tied". Business is business, just accept it. In almost every aspect of our life we are puppets of the corporations and the "experts" and powers-that-be that dictate to us from on high about the "way it is". But it doesn't have to be "the way it is" in the case of jazz festivals. Festival ADs could do the right thing, the same as Mitch Podolak and his cronies in the folk world. Hire only jazz musicians!!! The sponsors wouldn't even know the difference and jazz musicians *at every level* would have a fighting chance.

Jazz festival ADs, make your jazz festival an annual event people will come to "for its own sake", and hire only jazz musicians. Is it too late to turn back? The least you can do is give it a shot!

SONICBIDS - THOUGHTS AND SUGGESTIONS

2008-04-19T00:18:00.000-07:00

Response to Folk Alliance post:
It was stated that regarding Sonicbids "anyone can apply", that Sonicbids is a "level playing field" and that Sonicbids fees are free when you submit. My response and suggestion for a solution below.

Regarding Sonicbids: a big irg.... from me on this issue..... I finally cancelled my Sonicbids account after it cost me $70 to make one submission. While I was waiting for my submission to be reviewed, my credit card was (automatically) dinged twice with $30 semi-annual fees. Festival ADs are lead to believe that the musician pays only the submission fee. Wrong!

Note: I do provide a possible solution for overworked festival and event committees at the end.

Sonicbids costs $30US *twice* a year as a basic fee. One doesn't just submit to one event and get their annual fees free, as suggested. This gives the wrong impression of the way it works. They have been offering 6 months free with your *first* submission, but after you submit once you are hooked in forever. When I signed up, around 5 years ago, I had to pay the fee up front, and ever since then Sonicbids has been billing my credit card $30US every 6 months. You can't just cancel your account after you make one submission, then get another free one the next time you make a submission, as this is extremely impractical on more than one level:

1) What are you going to do, build a new EPK every time you submit to something? Ongoing submissions requiring ongoing annual fees.

2) Also, it often takes several months before your one submission is even looked at. I have a personal situation like that right now. I submitted to a summer event back in Oct 2007. Now in April 2008 my submission still has not been looked at. Since then my credit card has been dinged *once again* with the semi annual fee of $30US. Now it is about to be dinged a *second time*, and I asked Sonicbids to extend my account one month. I just can't afford all of this. If you make ongoing submissions, you keep paying the fees...over and over again.

3) Plus if you don't have an ongoing account you don't get email notices about the gigs in the first place! Again, you can't just cancel and recreate your account every time you submit to something....it just doesn't make sense.

POINT: For your $60/yr you get 3 tunes and a text page on which you cannot even make a word bold or underlined and it COSTS EXTRA to have just ONE video!! I refuse to give them more money!! I have videos coming out my $*&$^*^ and they are all available for FREE on my other sites. Maintaining a Sonicbids EPK is a royal pain in the butt and it is simply another thing on the growing heap of stuff I have to do for myself, for precious little return.

POINT: For CANADIAN ARTISTS it is even more of a money sucker. Most of the gigs offered on Sonicbids are US gigs, and given the state of our visa situation, who's looking for US gigs anyway? PLUS, you get the notice of the submission deadline only weeks at most from the deadline which makes it impossible to even consider a visa. There just aren't that many Canadian gigs to submit to on Sonicbids, to justify the fees.

POINT: You notice that the deadline for a submission is, for example, May 31, for an festival that's happening on June 24 (for example). Give me a break...there is no way this event/festival is still considering submissions on May 31 for an event on June 24. They are simply sucking out as many submissions as possible, knowing that they will never book any of these artists. It just becomes so obvious that it is meant to grab as many dollars as possible from artists, artists they have no intention of booking. It seems that as soon as you give people the opportunity for exploitiation, they will take it. Doesn't say much for human nature, but it sure is reality.

So, back to the CANADIANS....we maintain a Sonicbids account in order to submit to a few events a year maximum that even apply to us, because it's the only way we can submit to them, being exclusive. And if you're not a young rocker...the number of submission options dwindles even more, as honestly, most of the submission opportunities are directed at them. Sonicbids is not an even playing field. I hate it when I notice the charges on my credit card...for something I only use once or twice a year and which is totally redundant in terms of the already great promo I offer on my myspace and website. My myspace has everything you need is there on one page, and my website is layed out the same way. You don't even have to leave my front page to listen/watch/read etc.

POINT: If Sonicbids is to be a gig submission depot, then make it a free service, NO YEARLY CHARGES to musicians. Instead, charge the festivals and event promoters the fees to use the service, or charge the musician a submission fee and charge the event promoters...but currently it is simply another money sucking pit that musicians are constantly filling so that yet another online service can get rich from their labours while they pay to play and submit to gigs which may not even pay them for their work (that's right, a great % of Sonicbids gigs are non-paying). And event promoters are also profiting from their submissions by taking a cut. All this does is create bad blood and leaves everyone, except the young rockers and those lining their pockets, with a bad taste in their mouth. Everyone making money but us, those upon which the whole system is driven. irg....

POINT: I think festivals and event promoters taking a cut from artist submissions is immoral and unethical and I can't stress that enough.

POSSIBLE SOLUTION for overworked festivals and event committees: Simply make it a submission requirement that a one page *only* submission will be considered by the booking committees. The granting systems are strict about page limits etc...what's the difference? Then it is on the shoulders of the artists to make provide a clear one page submission presskit...as a link, whether it's a myspace or a website. "What you see is what you get". Only one page will be looked at. THAT would level the playing field, and help to solve your problem. There is no need to even even have a Sonicbids EPK. I intend to cancel my Sonicbids account as soon as my current submission is looked at....I've been paying them for 5 years now...enough is enough. Again, it's just another thing on my already heaping plate. When I did my taxes this year I was shocked at the amount I listed under "Professional Fees", which included Sonicbids submissions. And I refuse to pay Sonicbids more money just to show a video!!

Please consider these things, from an artist's point of view, and please consider the one-page submission as a possible solution. We're doing our job 10 times over already, don't make us do more.

The current state of the music business, the desperation of musicians to make a living, the "buzz" driven industry, elitist attitudes, schools flooding the market with new musicians and bands, and the globalization of the market have all *encouraged* the glut of submissions and maybe we should all take a look at the way in which we each, in our respective positions, contribute to "the way things are". That's a whole other discussion, but I want to strongly encourage NON-Sonicbids-exclusivity, and the refusal of festivals and events to profit from artist submissions.

roadstar

Internet Royalties/Tariffs plus Response to Billy Bragg article New York Times

2008-03-31T15:37:00.000-07:00

Aricle referred to in this post
The Royalty Scam
By BILLY BRAGG
Published: March 22, 2008

http://www.nytimes.com/2008/03/22/opinion/22bragg.html?_r=1&ex=1206849600&en=da03&oref=slogin

Response to post regarding tariffs for internet uses of music
(original email)
Can someone please tell me just what is SO wrong with successful musicians being paid what they are legally entitled to? And if there is resentment to Brian Adams or Celine Dion collecting royalties then where is the cut off point? Don't get me wrong. I am not an unbridled capitalist and I DO believe in limits to profits, but until society decides to change how we reward the successful among us what is wrong with paying their due?Wouldn't you be pleased with a multi-million selling album?

Roadstar replies, and further comments on the Billy Bragg aritcle

I think that an important point here is that things are stacked in favor of Bryan Adams and Celine Dion. They have the marketing machine to create the million sellers (the major radio stations etc etc...), and the legal infrastructures to make sure they get every red cent. So it's a rich get richer picture. In a purely theoretical sense, no it's not wrong for them to be cashing in (unless you want to get into moral issues), but in terms of the cultural big picture, we have to focus on ways to make the small fish, the working career artist, their 2 cents. The tariffs are a start at an idea, but questions about the distribution of royalties from the tariffs still continues to be unanswered. We can't even get it together to make sure that we get our few cents per play for internet and non-commercial radio, and yet we have a pie in the sky dream about internet download royalties. If we directed our attention towards things we *can* control...like "pay per play" radio tracking and royalty distribution for internet radio and all non-commercial radio, we would be way way ahead. Given the state of tracking technology there isn't a single reason in the world why this airplay should not be tracked and compensated, just like it is with the majors. Despite all of the "new deals", NOTHING has changed for us in this area.

This is one thing Billy Bragg misses in this article:http://www.nytimes.com/2008/03/22/opinion/22bragg.html?_r=1&ex=1206849600&en=da03&oref=slogin

He cites that radio does pay..well the fact is that the majority of radio does NOT pay. We all get some CBC airplay but most of us are getting non-commercial, college and internet radio airplay which does not pay. Stations pay tariffs knowing that little to none of the money they are paying goes to any of the artists that they are playing. The steep proposed internet radio tariff were prohibitive and counter productive, but we have to work harder in this area. It has to become a new income for all of us! The majors are doing fine, and hence Celine and Bryan, but for us, nothing has changed.Braggs' article points to the "new uses" of our music and the need for compensation. All the industry dudes are telling us to stop fighting and "give our music away", showing us graphs with dollar signs above "licensing" "royalties"...etc...all of these apparent benefits that we'll get. This only leads to more of what Braggs talks about...the only ones getting rich are them...and the internet companies like Bebo Myspace etc. These $$ signs are not happening! If it's happening for a few, great, but for the rest of the cultural fabric, *us*, it just ain't working. But we continue to believe in the myth because at this point we don't have options. I have 6 tunes being played on myspace the same as everyone else, and I love myspace for other reasons.

New uses of music have been cited as the things we should give away, but in reality, they are the ONLY uses of our music these days (exaggeration for emphasis) and hence the ones that have to start paying 2 cents into our paypal accounts. It all adds up, and if the technology is there to get the banks 2 cent 100 zillion times, the technology exists to get us our 2 cents, to help with our measly musician incomes.

More interesting reading for y'all: http://www.mediafuturist.com/blog.html

A "new use" of our music worth discussing: http://www.fliptech.com/ (a cdbaby opt-in digital service)

ANECDOTE - wasting taxpayers money

2008-03-31T15:35:00.001-07:00

Anecdote regarding the state of culture in our current society:

In 2006, my associate and I had a duo gig, playing ambient jazz, at a soirée put on by the Department of Francophone Affairs. A week before the gig my associate, who had booked the gig, sent me an email telling me that the gig had been cancelled. The employer stated that they had decided not to have us because - "they didn't want to be perceived as spending taxpayers money on music".

This is the government talking. What does that tell you? roadstar

Response to article: WE LOVE JAZZ MUSICIANS

2008-03-31T15:27:00.000-07:00

(Published in the Toronto Musicians' Association's Crescendo Spring 2008)

Here is my take on the article titled "We Love Jazz Musicians" (because they play for free and subsidize our businesses) signed Anonymous in the recent TMA Crescendo (AFM local 149 newsletter). Published in TMA Crescendo Spring 2008.

First, no truer words were spoken. Every bit of this is 100% true and if anyone thinks that the facts stated in this article are not true or that this article should not have been published then they are sticking their heads deeply in the sand. I applaud the TMA for actually publishing this article. Topics like these have become a constant source of conversation between my peers and me although nowadays we have to walk on eggshells when bringing these things up. No one wants to be seen as being negative about things, and everyone is so focused on "trying to be positive" that we are starting to avoid these discussions altogether.

Before I moved to Toronto I had never even heard of the word "guarantee" and when someone asked "are you getting a guarantee" I didn't know what they were talking about. I had always been paid for what I did, jazz or otherwise. I used to play 6 nights (and days) a week playing jazz and we always got paid. I’m not talking “old fart” here, I’m talking about just 10 years ago. Up until a couple of years ago, you could at least count on going into the "905" or other area codes to make some money but now, club owners everywhere have clued into this the play for free thing, and (with some exceptions) you can't make money anywhere any more (exaggeration for emphasis). The reason is that musicians are exporting this thinking. Festivals are our last hope, but even they know what scale is now, and offer us only scale. So when the writer of the article cites that musicians think scale is MAXIMUM, I say, scale IS maximum. I was recently involved in a situation where the musicians, only after an arduous ordeal by one or two, were able to get paid scale, at one of Toronto major concerts halls! Before, the "arduous ordeal" the musicians were NOT even getting paid scale, and none of the musicians said a word about it! You just shut up and keep smiling or you’ll loose your gig. This thinking pervades every aspect of our working lives. Jazz musicians are afraid to ask for scale, or anything above, because one's job is always in jeopardy. You can't say anything about anything. If musicians speak up, even to their peers, they are often perceived as "troublemakers". It's the old "freedom fighter" versus "terrorist" perceptual problem.

The writer is totally correct in noting that no other business is like this. In what other business do "professionals" fight so desperately hard to keep themselves down! The club owners and others are obviously hip to this, but we're not! Everyone is making money but us! The liquor salesman doesn't get paid if club "likes the booze". Musicians are more than willing to subsidize clubs, to help their business grow, while going deeper and deeper in the hole themselves. When the club owner says "what can you guarantee me", I say we should say "what can *you* guarantee *me*?" How many people can *you*, the club owner, guarantee *me* who will come in, listen, spend money, give me tips, and buy cds..if this is to be my pay? We are always expected to pack the place, and we've given the club owners the impression that we're responsible if their business fails! Even if a club in in a terrible location, has bad ambience, and bad food, they expect US to save their asses and fill their seats. And we go along with it! And even when they're doing well, they still complain! Recently a (successful) club owner cried the blues to me because there were only 150 people in the club. Give me a break!

Everyone has their hand out to musicians, Sonicbids etc etc etc. And we keep paying, because we have no choice. The "carrots" held out in front of our faces are NON EXISTENT. We're not all going to make it big, it just ain't going to happen. Cd sales are down, not up. Getting airplay is almost meaningless because 1)cd sales are down 2)you’re only tracked if you’re played by the majors (a big problem…despite all of the negotiations and “new deals”, NOTHING has changed to get the rest of us money for airplay, a perfectly valid “use” of our music). So playing for free has NO rewards, except for “face time” (see below). Top groups, or "darling" groups will argue against much of this but it's easy to spout from their vantage point. In this "fame mad world" (copyright - a phrase from one of my songs) you're either at the top, spouting off about how great things are, or you're at the bottom, with everyone else. There doesn’t seem to be any in between. Those who are working love to spout off. "Just go out and get some corporate gigs" I heard one of them say recently. That's a whole other topic, but I will tell you that 1)corporate gigs aren't as plentiful as in the past and they don't pay as much. 2)corporate gigs seem to be sewn up by a few who seem to do them all. I personally have made regular efforts at this to no avail. I, along with 3 other top Toronto musicians/groups, pooled our resources to do a major corporate campaign. We made 3 attempts, including a hard copy mailout. None of us got ONE SINGLE LEAD or GIG out of our efforts. And it’s not because this groups of artists isn’t good…as I said, some of the top “jazz musicians”. Just go out and get a corporate gig"...ya piece of cake! The lesson from this is that 1) the rich are getting greedier and 2)"live" music has become irrelevant, 3) musicians are offering more for less, 4)there are now hundreds (thousands) of musicians competing for the same gigs and there is always someone ahead of you who will work for cheaper (as the writer points out "we don't give a rat's ass about your art"..they just don't want to pay you). This seems to be part of the growing number of side effects created by the syndrome that is discussed in the Crescendo article. (jazz) Musicians are their own worst enemies.

Face time: Musicians need to be "seen". If you're not seen, you quickly become history. If you've got a lineup of gigs at all of those places where you play for free (I won't name them because we all know where they are), then you're perceived as someone who's "happening". So only those who are willing to play for free get a shot at trying to build anything. And there is such a lineup of musicians to play at these places that unless you can guarantee the club that you'll bring in all your friends, you can't even get a gig there. I recently tried to get a gig at one of them and the first question was “can you guarantee me 100 people through the door?” I said NO, and the conversation was OVER. I couldn’t get any further. So where does that leave me? I already spend 12 hours a day trying to promote myself. How much more can I give? Continual diminishing returns. "Youthful enthusiasm" does play a role in all of this too. When you're young you just can't foresee the consequences of your actions, and the world of playing “jazz” is your oyster. For some it is, but the topic of this discussion is realizing the consequences of our actions. It concerns us all, all of the jazz musicians (and other genres too!), young and old, who should be "all" allowed to participate in the culture which is their livelihood, and survive without fear, creating a healthier society for everyone! A utopian idea maybe, as it has become obvious that doing anything for sake of itself (as in playing jazz) is anti-capitalist and anti-business. Club owners and others are not doing anything “out of the goodness of their heart”, they’re doing it for one reason ONLY, to make money. I have no doubt that (jazz) musicians will continue to keep doing the same things. And for what?... As I mentioned, the "carrots" just don't exist. If you're a "darling", you're doing fine, if you're not, you're just part of the floundering masses of musicians. The colleges are cranking out hundreds and hundreds more each year, graciously given rights of passage by their teachers (many of whom are unemployed jazz musicians), making it even more of a young people’s game. I'm not slagging these teachers, you gotta survive!!...however it is a snowball rolling down a hill. Where are 4th year Humber students going to get their hundreds of hours of required "field experience"?....you guessed it. Say no more.

The problems are complex and require much discussion. The cause of the problem is shared between musicians themselves and society as a whole (including the club owners) The “idol”, “go big or gohome” mentality that has infused every aspect of our life, may seem like fun in the beginning but it is unhealthy for society as a whole, and we are paying the price already! I don’t blame club owner x, the writer of the article, for thinking we’re all a bunch of idiots, no wonder they "love jazz musicians" because the facts speak for themselves, and given that no one does anything out of the goodness of their hearts (except jazz musicians of course), club owners will continue to take advantage of us and get our product for free. Plus we’ll continue do all the work for them! I want to thank club owner x for his/her insights. I hope some people wake up as a result. ….and all those old and young industry white guys will keep telling us that’s there’s “no better time to be in the music business” and we’ll keep eating up their crap and making them millionaires ($39.95 times 10 million= “how much?”). …and we don’t even DEMAND our 25 cents per airplay!!! What a bunch of idiots we are.

Sincerely, anonymous jazz musician :)

Roadstar's Music Biz

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ANECDOTE - Beware of musicians

ANECDOTE - professional musicians left out because you have to pay them

ANECDOTE - 4 buns for the band

Live 365 Internet Radio

LICENSING, RADIO and SELLING ONLINE

Is this a JAZZ FESTIVAL?

SONICBIDS - THOUGHTS AND SUGGESTIONS

Internet Royalties/Tariffs plus Response to Billy Bragg article New York Times

ANECDOTE - wasting taxpayers money

Response to article: WE LOVE JAZZ MUSICIANS